This dissertation differs from previous research in that it suggests the continuity of Canadian poetry within a hypothesized four stages of development in North American poetry. The study is supported by a supplementary computer concordance to the major works of Sir Charles G.D. Roberts, Isabella Valancy Crawford, Archibald Lampman, Duncan Campbell Scott, E.J. Pratt, Earle Birney and Margaret Avison. The continuity of Canadian poetry is indicated by a transference of poetic metaphor and world view from the works of Sir Charles G.D. Roberts (the 1880’s Group), to those of E.J. Pratt (the 1920's Group), and from Pratt to Earle Birney (the 1940’s Group). Stage One in the development of North American poetry emerges in relationship to the building up of community. Stage Two is characterized by a Romantic transcending of the land which overleaps evil; Stage Three by an acknowledgement of evil in man and nature and Stage Four by a concentrated inquiry into the evil of human nature in what might be described as the contemporary Black Romantic Movement. Chapter One, "The Forest and The Garden" chronicles the wilderness-garden antithesis in relationship to Oliver Goldsmith, Charles Heavysege and Isabella Valancy Crawford. The dominant world view of this group is that of "garden" as it relates to the cultivation of the forest, and the primary metaphors are from the vegetative world. Chapter Two, "The Dream World", describes the movement away from the dream as a metaphor of romantic transcendentalism in the works of Sir Charles G.D. Roberts, Archibald Lampman and Duncan Campbell Scott. The "dream" in Roberts' canon emerges as a vehicle for transcendence which fuses Christian Romanticism and Darwinian progress; in the later works of Duncan Campbell Scott this transcendence is denied and evil is admitted, and the dream emerges in relationship to the temporal world. Chapter Three, "From Steel To Stone", indicates the transference of metaphor and world view from Roberts to Pratt in which the earlier poet's aspiring Darwinism is transformed into an atavistical structure which stresses the possibility of human Retrogression to the cave ethic, the steel to stone reversal. It is suggested that this atavistic reversal and the dominant metaphor of "blood" which characterize poetry written from 1920 to 1945 were occasioned by the carnage of two world wars. In E.J. Pratt's early work, the blood metaphor is associated with the bloodshed of war, and the "taint" or toxin of evil in the bloodstream which precipitates war. But it is also associated with a structure similar to Eliot's fertility cycle and the possibility of Christ-like redemption. In Pratt's later works, the blood metaphor moves directly into the Aryan myth and this also characterizes the writings of A.M. Klein. In F.R. Scott, Pratt's "taint" or "toxin", although carrying all of its previous escatological structure, becomes a real virus. Chapter Four, "The Fallen World", suggests that the concept of the Fall dominates poetry written in Canada from 1950 to 1965. Earle Birney is introduced as a transitional poet and it is suggested that his earlier poetry, which shows the influence of E.J. Pratt, moves from an Auden-inspired humanism, not unlike that of Scott and Pratt, to an ethos verging on the contemporary Black Romantic, which stresses the inversion of traditional Romantic myth and morality. Faced with the fallen world, the contemporary poet may decide to set up demons and assign to them a positive value (as Leonard Cohen and Daryl Hine do) or he may prefer to assign reality to the traditional God in relationship to the making of his own poetic world (as Margaret Avison does). The works of Avison and Cohen are examined in relationship to a world view which stresses the fallen world and the primary metaphors of sun-destructive and sun-creative. The Conclusion reviews the dominant metaphors and world views which have characterized Canadian poetry. It suggests that the development of poetry in Canada has been similar to the development of poetry in the United States in broad general terms although specific aspects of historical and geographical structure have changed some of the details of this development. It concludes that there is a continuity of Canadian poetry. / Arts, Faculty of / English, Department of / Graduate

This thesis will examine the works of six of the most outstanding French language writers of North Africa. The writings covered will encompass a period of some twenty years from the late nineteen thirties to 1962. Of the authors we have chosen to discuss four are Algerian: Mohammed Dib, Mouloud Feraoun, Mouloud Mammeri and Yacine Kateb. Driss Chraibi is Moroccan and Albert Memmi a Tunisian of Jewish extraction. It will be seen that the twenty odd years with which this thesis -is concerned constituted, sociologically, an extremely difficult period for the people of the Magrab. It was the period of social evolution and political upheaval which so often goes hand in hand with a colony's quest for independence. This fact is constantly reflected in the works we discuss, and indeed, often tends to form the very foundation of the theme the author is developing. For the sake of clarity we have divided our study into four subdivisions. The first of these considers the problems imposed on Magrabians by North African traditionalism. An examination of Les Chemins qui montent, La Colline oubliée, Le Fils du Pauvre and Le Sommeil du Juste amongst others shows to what extent many of the customs peculiar to North African tradition restrict and hinder a people striving to adapt themselves to life in the twentieth century world. A chronic lack of schools, deeply rooted superstitions and any number of backward beliefs contributed to the general ignorance of the population. Social hierarchy and the introversion inherent to the various sections of society such as the village, the tribe and the clan tended to stifle any catalytic elements from the exterior. This tradition steeped way of life imposed serious limitations upon the youth of the period. Only the privileged few obtained an education, and even they were hard pressed, to put it to good use under the conditions of their own milieu. Chapter two is concerned with the confrontation of the two Magrabian societies, the North African and the French. It will be noted that the North African was often obliged by the European colonists to suffer considerable hardship. Many of the customs dear to him were abolished, and the public administration with its "Komisars" was anything but sympathetic toward the North African and his plight. .The uneducated natives naturally left themselves open to flagrant exploitation from which the colonists profited greatly. As for those Arabs who had managed to acquire an education, they were unable to take their rightful place in life as they were socially unacceptable to the French. Total integration was impossible under the circumstances. The North African Jew encountered even greater difficulties as he was often considered to be a quasi-outcast by his Arab compatriots as well as by the French colonists. Chapter three examines La Grande maison, Le Sommeil du juste and L'Opium et le baton and their theme of Magrabian nationalism. It will be seen that gradually the North Africans realize that they have a mother country. They feel the need for and hope for an improvement in their way of life. They desire an end to the poverty and backwardness which is so characteristic of their existence. The only solution appeared to them to lie in revolting against the colonial power which eventually led to the Algerian war of independence. The final chapter will show that the revolt and terrible war it caused was not a cure all for the ills that plagued the Magrab. Independence when it finally came was a disappointment. The transition from a colony to independent state had been too great and too hasty for the ignorant majority of the people. Independence had not brought about the desired reforms; on the contrary, the lot of many was worse than it had been under French domination. The leaders of the new country did not really have the interests of the people in mind, and social chaos resulted. In conclusion it will be noted that though the themes of the majority of the novels tend to be socio-political in nature, and thus largely appeal to a somewhat specialized segment of the reading public, some of them contain elements which may be said to be of universal interest. It will also be suggested that whether they may be of universal interest or not is really secondary to the fact that these novels represent the attempts of a society which, in a literary context at least, is in its infancy, and that universal or not they are representative of an entirely new literature, the literature of North Africa. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This study evaluated moral dilemmas and Lawrence Kohlberg's (1975) stages of moral reasoning of protagonists in a sample of children's translated European war novels. The sample, consisting of fourteen books, was defined as all children's European war novels published between 1950 and 1984. The content analysis first determined the moral dilemmas in each of the novels by identifying those story situations where two or more moral issues were in conflict. A second procedure evaluated the protagonists' response to the dilemma, making possible the assignment of a Kohlberg level and stage of moral judgement. The collected data were evaluated following two steps. First, the Issues, Levels and Stages were quantitatively analyzed for representation, number, and frequency. In addition, the Issues and Stages were evaluated for those moral issues most frequently paired with each moral stage. The second procedure examined the relationship between the data and selected variables: Era (Era I 1952-1962, Era II 1963-1973, Era III 1974-1984), Sex of author and Sex of protagonist. The findings revealed that moral dilemmas in the European war novels were most often related to issues of Affiliation Roles, Morality and Mores, and Truth. No dilemma situations arose out of conflicts of the moral issues of Sex or Law. All other Kohlberg moral issues were represented at least once in the sample. The predominant stage of moral reasoning in the sample was Stage 2 (serving one's own needs), closely followed by Stage 1 (blind obedience to authority) and Stage 3 (playing the good role). Significantly, these stages reflect the general moral reasoning capabilities of the intended reading audience, ages 8 12 years. While higher stages were represented, they accounted for substantially fewer protagonist resolutions to dilemma situations. With regard to sex of the protagonist, the findings revealed that male characters more frequently resolved their dilemma situations with sophisticated levels of moral reasoning than did female, a factor which may be linked to the type of story. The relationships between moral development and Era appeared to reflect the transition from traditional realism to modern realism in children's fiction. Books written in Era I (1952-1962) contained few or no moral dilemmas. As with other traditional realistic fiction, child protagonists in that era were insulated from the world around them and thus remained relatively unaffected by World War II. Books written in Era II (1963-1973) and Era III (1974-1984), however, showed evidence of portraying children in the modern mode of realism. Unlike Era I, protagonists of these periods encountered large numbers of moral dilemmas and were highly involved in and affected by the war. / Arts, Faculty of / English, Department of / Graduate

The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study. Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies. Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions. Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next. / Arts, Faculty of / Music, School of / Graduate

It is by now a commonplace notion that the dominant theme in mediaeval romance is the quest. In the English literature of the fourteenth century the quest is represented in a large number of works whose interests range from the pseudo-historical representation of courtly and romantic life to the parody of romance conventions and satire of outmoded ideals. In addition, Langland's major work, Piers Plowman, written over several years towards the close of the century, incorporates the quest theme as a metaphor of the pilgrimage of life. The term "quest" and its ramifications in such a variety of offerings serves to convey an expression of action which can be either heroic or comic as well as deeply spiritual. An examination of the romance literature immediately preceding the fourteenth century, and subsequently throughout that century, suggests that there is a twofold evolution in the artistic adaptation of the quest theme. On the one hand there is an observable shift from literature in which the quest plays an exterior and public role, leading to success for the hero and a movement towards equilibrium in society, to an interiorisation of the quest in which ambiguity and fallibility are admissible and possible in the hero's conduct of the quest. At the same time the quest theme allows us to explore a process in which the literature of the period evolved from the unambiguous presentation of the ideals to which society is presumed to have subscribed, to a point, near the close of the century, at which those very ideals and beliefs are questioned. Such a process makes demands on the reader, or listener, which the earlier works did not, and forces a particularly close attention to details which frequently affect the outcome of the quest. An examination of the quest theme itself is far more than a means of coming to a better understanding of the literature of the period, though indeed it does serve as one way of getting closer to the works. More important, its frequency in literature from the very earliest times right up to the present, suggests that the theme is seen by artists as a cogent means of expressing the varieties of human experience. In a Christian and mediaeval context one would expect quest literature to be optimistic and to mirror the possibility of heavenly rewards held out to the faithful traveller, whether knight or pilgrim. This however is not always the case. The works of the latter part of the fourteenth century, notably Sir Gawain and the Green Knight and Piers Plowman, reflect uncertainties and doubts about the lasting values of the chivalric ethic and the efficacy of dogma which earlier generations seem to have taken for granted. Looked at in this way the quest device may be seen, not as a unifying element common to the literature of the period, but as an expression of the growth of an artistic sensibility which comprehends an active engagement between a work and its audience. Such an expression goes beyond mere entertainment to promote reflections and curiosity about humanity that outlasts the experience of reading. / Arts, Faculty of / English, Department of / Graduate

Place is not simply the physical reality of the topographical and human geographical features located at a particular position in space. It is also the experience of the associations, images, and memories incorporated in the landscape, with a large input from the observer. Our personal and cultural histories are important in this experience of place, which is therefore both subjective and intersubjective. The sense of place in literature is often particularly expressive of this power of association and imagery — perhaps, because of its concentrated form, especially in poetry. Literature, however, in choosing its imagery, is not only reflective of the historical, cultural and personal associations of place, but is also creative in shaping these associations of place. Literature, because it is selective and imaginative, has the power to alter our experience of place. Many of the works of the Irish literary revival possess an unusually strong sense of place — it was a literary movement which sought to emphasise Ireland and Irish themes. The selectivity and imagination of the writers, particularly because of the romantic and mythological heritages stressed in the revival, resulted in a representation of the Irish landscape -- indeed a vision of Ireland -- which is rich in symbol, association, and image. This Ireland of the imagination was also attractive and powerful enough to become part of Irish nationalist ideology. A romantic vision of the Irish landscape and its people developed by W.B. Yeats, A.E., J.M. Synge and others became part of the nationalism of militant revolutionaries such as Patrick Pearse, leader of the Irish insurrection of Easter 1916 — important in Irish history because it shifted the dominant expression of nationalism from constitutionalism to militancy. It was through the use of force rather than through constitutional methods that a separate Irish nation was established in 1922. This thesis, therefore, has three main themes. Firstly, place is an experience of the imagination -- of association, of memory, and of image. Secondly, literature is important in shaping that imagination because of its symbolism and its power in creating imagery. Finally, and perhaps most importantly, the ideas of a movement of the imagination such as the Irish literary revival can have a large effect on the ideas, and therefore the ultimate actions, of a movement of action such as, that of the Irish militant nationalists. / Arts, Faculty of / Geography, Department of / Graduate

[abstract missing] / Arts, Faculty of / Geography, Department of / Graduate

Arthur Kopit's plays express what I believe to be the dominant cultural anxiety of the latter half of the 20th century: the conflict between the human need for order and meaning and our existence in a chaotic and fragmented world. The playwright's works depict the traumatic impact of this conflict on people both individually and collectively; at the bottom of the dilemma is the human inability to accept our inevitable mortality. Kopit's plays also express deep cultural anxieties of their particular social moment. Reductively summarized, the causes of those anxieties are family dysfunction (_Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad_ – 1960), the Vietnam War (_Indians_ – 1969), aging and disability (_Wings_ – 1978), nuclear proliferation (_End of the World With Symposium to Follow_ – 1987), obsessive materialism (_Road to Nirvana_ – 1991), and technological invasions of privacy (_BecauseHeCan_ – 2000). Kopit's works feature breakdowns in personal identity (through characters and action), cultural identity (through themes and settings), and aesthetic identity (through formal elements). At the heart of those breakdowns are the identity components of "commemoration" (memory, history/myth, artistic tradition), perception, and language. Ultimately, those components prove to be insufficient bases for identity – but the only ones available. The playwright puts his protagonists into crises that call into question their senses of self. Those crises expand from the personal to the cultural by virtue of their context in the turbulent late 20th-century U.S. society; individuals in crisis become emblematic of "America" in crisis. And the form reinforces this content. Each play combines and distorts established genres, techniques, and/or other works in ways that break down their aesthetic identities. Further, the theatrical effect of each play parallels the experience undergone by the characters, so that the causes – and cultural dimensions – of their personal crises are felt firsthand by audience members. Kopit's oeuvre thus provides tremendous insight into the complexities of existence in the contemporary age. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2003. / April 7, 2003. / American Drama, Immortality, Identity, Fear of Death, Memory, Aesthetic Form, Narrative Disruption, Reality and Illusion / Includes bibliographical references. / John Degen, Professor Directing Dissertation; Karen Laughlin, Outside Committee Member; Carrie Sandahl, Committee Member.

by Dorothy Price / English text with poems in various languages / Typescript / M.A. Florida State College for Women 1927 / Includes bibliographical references (leaves 46-50)

在近代中國大變局中，詩歌文化傳統如何面對「現代世界」，是一個值得注意的問題。本文選擇的研究對象「三元」（開元、元和、元祐）、「三關」（元嘉、元和、元祐）、「四元」（元嘉、開元、元和、元祐）是陳衍 (1856-1937)、沈曾植（1850-1922）和馬一浮（1883-1967）對詩歌傳統的建構，它們既共同反映出舊體詩人維繫傳統的努力，又分別帶有三人對各自時代的反應。本文共六章，以中間四章的論述結構為核心。第二、三、四章分別就「三元」、「三關」和「四元」的形成過程和詩學意涵做出詳盡考察。本文認為「三元」是陳衍1899年以後逐漸形成的詩史體系，在1912年12月分兩個系統建立。「三元」包含了對近代不同詩歌風格的歷史追溯，以杜甫、韓愈、白居易、蘇軾為詩史典範。「三元」最重要的唐宋詩法傳承，陳衍的關注點在「白居易、梅堯臣、蘇軾、陸游、楊萬里」一脈，而他的詩歌理想是「能」與「稱」或者「至」。沈曾植的「三關」說是他1918年對自己1899年「三元」唐宋詩史論的顛覆。「三關」說是代降詩史觀下的復古學詩方法，強調由「元祐」、「元和」上溯「元嘉」詩歌的「雅」、「玄理」。其中「元祐」重在黃庭堅和江西詩派，「元和」重在韓愈和韓門詩人，「元嘉」則以陶潛和謝靈運、顏延之共同作為典範。相比陳衍的「三元」，「三關」擴大到對文化價值的整體關懷，這與沈氏的人生經歷息息相關。馬一浮的「四元」說在「三關」的基礎上增加了「開元」，同時融入了他早年以「仁」為核心的詩教觀，1943年提出「四元」並完成詩史體系建構。該說以他對詩歌「脫俗」、「神悟」的追求為基礎，以「史」、「玄」為內容，以「仁」和「理境」為理想，兼重詩歌社會功能和審美價值，反映出他超越以杜甫為代表的唐宋詩人、挑戰近代宗宋詩學的理論個性。本文第五章結合時代語境比較分析了三種詩史觀同異的成因。三者相同的「元和」、「元祐」源於繼承晚清宋詩傳統以對抗現代衝擊的共性價值。三者的差異表現在具體的詩史典範選擇和「元嘉」、「開元」等詩史階段的取捨排列上，這又分別決定於他們的時代文化心理和自我定位。「三元」重視個性和強調新變，反映出陳衍融入時代以保留傳統的新型「學人」定位。沈曾植「三關」強調「見道」和上溯「元嘉」，反映出他對堅守文化傳統的「士人」理想。馬一浮 「四元」對「仁」和「理境」的追求，表現出他以「復性」重建文化傳統並以「獨立人格」實現傳統文化永恆價值的人生理想。本文選取了近代中國最成體系的三種詩史觀為研究對象，填補了相關研究的空白，在揭示三說歷史語境和文化氛圍的同時，也希望能為近代中國詩學研究做出貢獻。= In the century since 1840, China had experienced dramatic change in society, politics and culture. But due to the focus on modern tendencies in literature (especially vernacular literature) in the twentieth century, traditional poetics has long been neglected. This thesis takes Chen Yan(1856-1937), Shen Zengzhi (1850-1922), Ma Yifu (1883-1967) and their San Yuan (Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)), San Guan (Yuan Jia (424-453), Yuan He (806-820) and Yuan You (1086-1094)) and Si Yuan (Yuan Jia (424-453), Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)) theories as major research foci to discuss one question: how did poetic tradition respond to the modern world? Apart from the introduction and the conclusion, this thesis includes four chapters. From the second chapter to the fourth, the forming process and poetic concerns of Chen's, Shen's and Ma's perspectives are investigated in turn. The fifth chapter compares the poetic values and historical views of their theories, and analyzes the identities and differences by integrating with their cultural psychologies and self-identifications. As the most elaborated and systematic theories of poetic criticism in the last period of the poetic tradition, the three perspectives are linked by the similar form of historical perspectives, though were all developed under personal considerations. By explicating the underlying historical and cultural concerns of perspectives on poetic history in modern China, this thesis not only achieved breakthrough in related research area, but also provided references to contemporary studies of classical Chinese poetics and poetic history.